Nabucco-opera reviewJanuary 29, 2016

Nabucco--photos by Cory Weaver

​OperaJanuary 29, 2016

Nabucco

By Betty Mohr

With its theme of Jewish captivity at the hands of Babylonians (now Iraq), its romantic love triangle, its intoxicating music, and so much more—Lyric Opera of Chicago’s Nabucco is a sweeping, spellbinding production.

When it premiered at Teatro alla Scala in Milan, Italy in 1842, Nabucco was composer Giuseppe Verdi’s first career success. Italian audiences were thrilled by its drama, passion, and gripped by its epic scope that dealt with war, betrayal, revenge, and God—all the big issues of human existence.

As the glorious Verdi musical overture soars through the auditorium, Nabucco opens in Jerusalem with a navy screen emblazoned with Hebrew writing (courtesy of Chris Maravich’s projections) from the Book of Jeremiah. The second part of the opera is set in Babylon with cuneiform script projected onto its walls.

​The libretto by Temistocle Solera is based on a combination of the 1836 play by Auguste Anicet-Bourgeois and Francis Cornue, and biblical narratives from the Book of Jeremiah and the Book of Daniel. The story centers on the war against the Jews as they are taken captive by the Babylonian king and exiled from their Jerusalem homeland.

Historically, Jerusalem, the capital of the Kingdom of Judah (Israel) was destroyed by Babylon’s King Nebuchadnezzar (Nabucco). He, and his warriors, stormed into Jerusalem, captured God’s chosen people, and brought them as slaves to Babylon in 587 BC.

Tatiana Serjan p: Cory Weaver

​Jeremiah, the Hebrew prophet, foretold that the Jews would be allowed to return to Jerusalem after 70 years. During those seven decades, the Persians (Iran) conquered Babylon (Iraq). Chronicled in the Book of Daniel, King Nabucco goes mad for seven years, and then converts to Judaism. The Jews were then freed, and their temple restored.

Focusing on a three-way romantic conflict within a biblical backdrop, Nabucco is a captivating tale made even more riveting by director Matthew Ozawa’s imaginative staging and a strong ensemble of performers. Mezzo-soprano Elizabeth DeShong delivered an impressive portrayal of Fenena, Nabucco’s good daughter; and Dmitry Belosselskiy came through with a powerful bass as Zaccaria, the Old Testament Jewish high priest.

Moreover, Sergei Skorokhodov’s tenor conveyed a romantic turn as Ismaele, the king of Jerusalem’s nephew; and baritone Željko Lučić was outstanding as Nabucco, the warrior king who is struck by a thunderbolt from Jehovah and converts his allegiance to the Jewish God.

​But the highlight performance was that of soprano Tatiana Serjan who delivered a dazzling portrayal of Abigaille. Her coloratura and vocal mastery as the villainous character who seeks to escape her past by controlling a kingdom was a sizzling show-stopper.

In addition, the opera featured wonderful supporting artistic talent that included Michael Yeargan’s stunning sets, Duane Schuler’s lighting, and Jane Greenwood’s evocative costuming of black and white prayer shawls for the Hebrews, and fighting red for the Babylonians.

L-R Elizabeth DeShong, Sergey Skorokhodov

​Furthermore, conductor Carlo Rizzi’s masterful lead brought out the best in the Lyric orchestra and in Verdi’s intoxicating musical score—especially in the glorious overture. In addition, an exquisite chorus, led by Michael Black, gave an exceptional harmonious voice to Verdi’s famous “Va, pensiero, sull’ali dorate.”

That most popular chorus in operatic history about Hebrew slaves yearning for their homeland, its English translation is “My country, so beautiful and lost to me.” In Nabucco, it’s the battle cry for the enslaved Jews, but at the time of the opera’s opening, it became the signature expression for the nationalists of the 1840’s as Italy struggled to escape Austria’s hold and to unify its country. Considered the Italian national anthem by many patriots, it was sung by the large crowds that gathered at Verdi’s funeral.

Opera doesn’t get much better. I’ve never seen such an incredible standing ovation as Nabucco received from a very grateful audience. The crescendo of applause and bravos continued on and on for more than ten minutes. Indeed, this opera is the greatest triumph of the Lyric season.